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Contenu
- Foreword by Miles Okazaki
- Preface and Acknowledgments by Rodney Jones
- Introduction and Acknowledgments by Alex Levine
- How to Read the Fingerings
- Line 1 Blues in F - Audio 2 & 3 - shifting while retaining shape, covering range
- Line 2 Blues in F - Audio 4 & 5 - nine-note figure, reorienting figures, V-I idea
- Line 3 Blues in F - Audio 6 & 7 - two notes per string, interlocking triads, pivot points
- Line 4 Blues in F - Audio 8 & 9 - picking exercises, moveable cells
- Line 5 Blues Minor - Audio 10 & 11 - descending chromatics, chromatic enclosure, Miles chromatics
- Line 6 G Minor Blues - Audio 12 & 13 - fourths/fifths cells, triads in whole tones
- Line 7 Darn That Dream - Audio 14 & 15 - seven-note and five-note figures, legato chromatics
- Line 8 A Minor Vamp - Audio 16 & 17 - connecting chromatics, arpeggios, and scalar fragments
- Line 9 Blues in F - Audio 18 & 19 - using only first and third fingers, using familiar shapes to get different combinations
- Line 10 G Minor Blues - Audio 20 & 21 - shifting mid-idea, using the physical framework of cells, phrase length variation, conversation
- Line 11 Impressions - Audio 22 & 23 - arpeggios in four and five-note groupings, departing/returning to home tonality, identifying cells and phrases
- Line 12 It Could Happen To You - Audio 24 & 25 - chord voicings as physical frames and moveable figures, ii-V-i idea, arpeggios applied on different chords
- Line 13 Jeannine - Audio 26 & 27 - minor seventh arpeggio using fingers one and four, structure of arpeggios
- Line 14 Lover Man - Audio 28 & 29 - chromatic approach notes and enclosures, ghost notes
- Line 15 Blues Minor - Audio 30 & 31 - same shape played with different fingering, broken chromatics, rhythmic spacing, breath, symmetrical s9 shape
- Line 16 A Night in Tunisia - Audio 32 & 33 - rhythmic groupings of five, six, and seven, descending chromatics
- Line 17 Willow Weep For Me - Audio 34 & 35 - ghost notes, seven-note short/long permutations
- Line 18 Giant Steps - Audio 36 & 37 - moving cells through changes, V-I phrases through changes
- Line 19 Days of Wine and Roses - Audio 38 & 39 - combining bebop language with descending fourths
- Line 20 Giant Steps - Audio 40 & 41 - additive rhythms, isolating and applying rhythmic phrases
- Line 21 Softly, as in a Morning Sunrise - Audio 42 & 43 - exploring alternative fingerings
- Line 22 Blues in F - Audio 44 & 45 - minor triads in minor thirds, three-note device falling back through the beat
- Line 23 Blues in F - Audio 46 & 47 - sonic trickery, using familiar phrases in unexpected ways
- Line 24 Blues in F - Audio 48 & 49 - tritone substitution, melodic figures from physical chord shapes
- Line 25 D Minor Blues - Audio 50 & 51 - shifts guided by individual melodic cells
- Line 26 Blues in F - Audio 52 & 53 - chromatic enclosures targeting chord tones, moving between rhythmic strata
- Line 27 Vamp in Bf Minor - Audio 54 & 55 - fifths and fourths concept, Arthur Blythe
- Line 28 D Minor Blues - Audio 56 & 57 - phrasing with pentatonics, changing fingers to play one note
- Line 29 D Minor Blues - Audio 58 & 59 - hammer-ons and dynamics, conversational phrases
- Line 30 Softly, as in a Morning Sunrise - Audio 60 & 61 - sliding, the impact of fingerings on the directionality of ideas
- Line 31 Blues Minor - Audio 62 & 63 - rhythmic punctuation, grammar
- Line 32 Blues Minor - Audio 64 & 65 - patterns of varying lengths, rhythmic structure
- Line 33 Blues Minor - Audio 66 & 67 - dominant to tonic resolution, minor tonalities moving in different intervals
- Line 34 Blues in F - Audio 68 & 69 - blues language, articulation, singing quality
- Line 35 Blues in F - Audio 70 & 71 - 1235 shape and variations
- Line 36 Impressions - Audio 72 & 73 - whole-tone figure
- Line 37 Rhythm Changes - Audio 74 & 75 - triple feel, scalar idea filled in with chromatics, fourths as a framework for expanding ideas
- Line 38 Impressions - Audio 76 & 77 - directionalism
- Line 39 F Minor Blues - Audio 78 & 79 - shifting tonalities, chord on every beat
- Line 40 Blues Minor - Audio 80 & 81 - C minor and Bf major triads over F minor
- Line 41 D Minor Vamp - Audio 82 & 83 - George Benson influence, slide/interval leap to an adjacent string
- Line 42 Blues in G - Audio 84 & 85 - fundamental diatonic sequences and arpeggios, minor seventh chords a major third apart
- Line 43 So What - Audio 86 & 87 - descending chromatic, shifting tonalities while keeping the same fingering
- Line 44 Softly, as in a Morning Sunrise - Audio 88 & 89 - ascending C minor, descending B minor
- Line 45 Softly, as in a Morning Sunrise - Audio 90 & 91 - reaching out of position for a note
- Line 46 Unit 7 - Audio 92 & 93 - fourths a whole tone apart, triad permutations
- Line 47 Speak Low - Audio 94 & 95 - triplets grouped in twos, ghost notes
- Line 48 Lover Man - Audio 96 & 97 - G minor tetrachord, retaining the same fingering through the range, scale fragments in various note groupings
- Line 49 Little Sunflower - Audio 98 & 99 - building and expanding phrases from a rhythmic idea
- Line 50 Blues in F - Audio 100 & 101 - shifting, directionalism
- Line 51 D Minor Blues - Audio 102 & 103 - arpeggios with different numbers of notes, changing direction, delayed resolution
- Line 52 Blues Minor - Audio 104 & 105 - musical sentences, structure from shifts in position, tonality, or rhythm, melodic shapes in tritones
- Line 53 Little Sunflower - Audio 106 & 107 - four-over-three, whole-tone device
- Line 54 Impressions - Audio 108 & 109 - two notes per string, chromatics cells, repeated notes on different strings
- Line 55 Summertime - Audio 110 & 111 - sense of direction, target points, chromatic enclosure
- Line 56 Speak Low - Audio 112 & 113 - arpeggios with note groupings of five and four-
- Line 57 Speak Low - Audio 114 & 115 - descending chromatics into chord tones
- Line 58 Blues in F - Audio 116 & 117 - three-finger technique, repeated note on the same string with different fingers
